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Old 10-25-2014, 02:47 AM   #1
dpaterso
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Default Halloween 2014 entries

Welcome to this year's fun DDPro Halloween short script contest!

There are 14 entries, sorted into random order by internet magic.

The Haunting of Silver Oaks
Heart of the Dragon
Echoes In The Mist
Killing Fool
Life Is But A Dream
Pledge Night
She Works Hard For The Money
Pyro
The Clown At The End of the Road
The Mask, the Crypt and the Urchin
Norma Rae
Chase in the Woods
Hallowed Bean
The Touch

If you don't like the Code windows (which preserves formatting) select Thread Tools and Show Printable Version

Shout if you detect any errors in your entry, I'll correct ASAP. The board's potty mouth filter changes bad words to asterisks, I've modified these slightly so the reader will at least know what's being said.

As suggested previously, consider making notes as you read each entry, maybe award star ratings for character, dialogue, setting, etc. Treat every entry as the winner -- until you read something better that pushes it further down your pick-list.

Once you pick your 1st, 2nd and 3rd top choices, PM or email these to me (dpaterson57@gmail.com). I'd appreciate receiving them in the format:

1st - title
2nd - title
3rd - title

Please don't vote for your own entry. If this were allowed, everyone would do it, so it's pretty pointless.

Voting deadline: midnight on Friday 31st, Halloween!

After the vote results are announced, reader feedback is invited for discussion and improvement. Please hold your comments until then, in case it influences voting (unlikely, but who knows).

Enjoy!

For posterity, the results are here and the discussion thread is here.
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Halloween contest results posted!
And maybe start thinking about a Yuletide contest also!


Last edited by dpaterso : 09-25-2015 at 02:14 AM.
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Old 10-25-2014, 03:13 AM   #2
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Default Re: Halloween 2014 entries [in progress]

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The Haunting of Silver Oaks FADE IN INT. SILVER OAKS RETIREMENT HOME - ROOM 117 - NIGHT Cut paper Jack-o-lanterns and black cats are taped to the darkened room walls. Shivering in the bed, PEGGY WINSTON, 94, pulls the blanket under her chin. Her eyes dart. She's certain she heard something, but the only noise is the singular beeping of her heart monitor. A white fog begins to seep under the door. A LOW MOAN comes from beyond it. Peggy's eyes are wide now. The beeping increases. THE DOORKNOB - ... slowly turns. Fog fills the room as the door creaks open. THE APPARITION appears through the fog, a disembodied skull above flowing robes approaches the bed. A skeletal hand reaches for her - Peggy tries to scream, but there's no sound. The heart monitor beside the bed goes to a fevered pitch, a double beat stutters, and then - silence. Life flees from Peggy's eyes and she collapses. The fog disperses as orderly PACO RODRIGUEZ, a stout 29, and nurse COURTNEY McCLURE, 36, in scrubs, rush to the bedside and administer CPR with practiced speed. COURTNEY Mrs. Winston! Mrs. Winston can you hear me! PACO Oh man. She finally went. Courtney slams her hand on the intercom. COURTNEY Code Three! Room one seventeen. We need an ambulance, stat! PACO She don't need nothing but an undertaker. COURTNEY Shut up, dammit. She wheels away from him. PACO Are you crying? COURTNEY She's... just been here so long. PACO She told me fourteen years. Paco sniffs the air. PACO You smell something? Something sweet? COURTNEY Yeah, and the room is so clammy. It's not this cold in the hallway. PACO Something's not right. I'm calling somebody. BRIAN CUSSLER, 47, fit and tan, wearing a sport coat and khakis, enters tentatively. BRIAN I just heard. She's really gone? Nods from Paco and Courtney. COURTNEY You're working late. BRIAN End of the month reports, it's all due to corporate tomorrow. Two Paramedics arrive. They check the body, one brings out a defibrillator. BRIAN No resuscitation, she had a DNR. The room grows solemn. EXT. SILVER OAKS RETIREMENT HOME - NIGHT The ancient green Chevy van pulls into the handicapped space. The door opens and a small Peek-A-Poo puppy jumps out, begins yipping it's way to the nearest tree. From the driver's side comes FRED, 63, luxurious hair, fit, wearing a tailored cream blazer and an ascot. FRED Scruffy! Come back here, dammit. Behind him VELMA, 64, a pudgy woman in an oversize sweater and giant blackrimmed glasses shakes a finger. VELMA I told you - you've got to keep him on a leash. SHAGGY, 66, eases from the van, green t-shirt and brown corduroys, his thin hair in a ponytail. Gray goatee. SHAGGY Like, you just need the magic box. He pulls a giant green and orange box from the van. Shakes it. 30 yards away the scampering dog stops in mid- air and does a 180. Comes at full clip back for a treat. The pup passes DAPHNE, still a knockout at 64. Styled silver hair, pink capri pants under the purple miniskirt. DAPHNE Nothing stops `em like a Scooby Snack. SHAGGY Millions satisfied. Millions sold. He flips a treat to the pup. Pops one in his mouth. VELMA And you gave away the royalty rights for nothing. Nothing! SHAGGY Nothing? No way! It was like, ten pounds of prime sinsemilla! FRED Com'n gang, let's go find Paco. INT. SILVER OAKS RETIREMENT HOME - ROOM 117 - NIGHT Paco and the Mystery Incorporated team examine the now empty room. Velma unpacks a laptop and plugs it in. PACO She was fine in yoga class, then four hours later, her heart rate goes to one eighty and she's gone. DAPHNE Something must have really scared her. PACO Could be. Silver Oaks is supposed to be haunted by a resident who died here long ago. FRED Ghosts and spooks are our bread and butter. SHAGGY Speaking of food -- Velma examines a thin layer of powder on a side table. VELMA Is this dust? PACO Shouldn't be, housekeeping hasn't been through yet, but the room was just cleaned on Tuesday. There's a TREMENDOUS BOOM. The building shakes. Everyone jumps. SHAGGY Zoiks! What was that? PACO Demolition. Peggy was the last resident on this wing. They're tearing it down for the new tower. That might be your dust. Velma, Fred and Daphne share a knowing look. VELMA Didn't take long to find that motive. FRED Shaggy why don't you and Scruffy see what you can find out about the construction. PACO The contractor's office is right across from the kitchen, you can find him -- Shaggy and Scruffy are already out the door. DAPHNE By the kitchen? They'll find him. INT. SILVER OAKS RETIREMENT HOME - KITCHEN - NIGHT Shaggy stands in front of a giant pantry filled with enough institutional food to feed a nursing home. He grabs a cookie from a giant box, tosses one to the pup. SHAGGY Who knew old people liked gingerbread cookie and sweet pickle sandwiches, too? SCRUFFY Yip. Shaggy opens another box, pulls out a skull mask just like the Apparition. Then a small projector. SHAGGY Like, I think we just got a nibble. SCRUFFY Yip. Yip! The door opens, Brian steps in. Surprise! BRIAN Hey! What are you doing in here? SHAGGY Just getting a little pre-midnight snack, snack. BRIAN So you're hungry? How `bout I feed you that projector? Scruffy GROWLS. Brian takes a step towards Shaggy and the dog latches onto Brian's ankle. He HOWLS. Shaggy and the projector make a run for it. SHAGGY Get him Scruffy Poo! Brian kicks the dog loose. The ball of fluff flies across the room. Smacks the wall with a sickening THUD and a YELP of pain. Shaggy skids to a stop. SHAGGY Scruff? He goes to the dog, drops to a knee next to the lifeless pup. Turns to see Brian approaching with a large cleaver. SHAGGY You killed my dog, dude! I ought to -- The cleaver slashes. Blood splatters on the far wall. INT. SILVER OAKS RETIREMENT HOME - ROOM 117 - NIGHT A full moon through the window. Velma is cranking through webpages on her laptop. Fred and Paco examine a hole in the ceiling. Daphne touches up her make-up. PACO A lens? Like a camera? FRED Or a projector. VELMA This says Silver Oaks is owned by a limited liability corporation and the sole stockholder is named Brian Cussler. She holds up the laptop to show his photo. PACO Can't be. Brian's just the General Manager. VELMA It also says rooms in the new tower are going to be five times what Mrs. Winston was paying. DAPHNE No wonder he wanted to scare Mrs. Winston away. FRED He did more than just scare her. DAPHNE Yeah, that's weird - nobody ever dies on our cases. The lights dim. The door closes, locks. Fred leaps to it. PACO Oh sh*t. It locks from the outside so residents don't just wander off. The white fog begins to seep under the door. DAPHNE That smell -- PACO Its honeysuckle or something. The door opens in a waft of fog. The Apparition enters. FRED It's a projection! He charges through the fog and out the door. Then staggers back, a butcher's knife buried hilt deep in his chest. His eyes wide, then rolling back as he collapses. Daphne screams and goes to a karate stance, just as a throwing knife buries itself between her eyes. Paco steps in front of Velma as the Apparition enters the room, a solid physical being rather than a projection on the fog. A bloody cleaver in it's right hand. The Apparition stops. Pulls the mask from his face. BRIAN You've done well. PACO I haven't done anything. Paco balls his fists. A loop of cable passes over his head. It's Velma with the laptop cord as a garrote. She tightens the cord and he loses consciousness. Falls to the floor. BRIAN I wasn't talking to you. He takes Velma in a bear hug. BRIAN It's over Aunt Velma. No more meddling kids. VELMA I thought it would never end. She begins to sob. VELMA (CONT'D) All those damn dogs. Those first four Great Danes - f***ing things crap like Clydesdales. Then it was collies. But that Peek-A-Poo was the last straw. BRIAN Your pet dander allergies. VELMA It was horrible. And that idiot Shaggy, thinking they all could talk. It's been years of this! BRIAN Moronic. VELMA People thought he was stoned all the time. Oh no - he really was just that stupid. We could have been rich! Brian looks around. BRIAN I'll go get a gurney. The concrete guys will start pouring the tower footings at dawn. VELMA You know anybody who wants a van? It's been on TV. FADE OUT
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Old 10-25-2014, 03:15 AM   #3
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Default Re: Halloween 2014 entries [in progress]

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The Heart of the Dragon INT. PETROGLYPH CAVE, CANADIAN ROCKIES - LATE MORNING Flickering light illuminates ancient Native American artwork on the rock face - Drawings, done with bold colors and flowing SHAPES, which almost seem to leap out from the wall - But these are not the traditional paintings of hunters and their prey. Not celebratory in any way. Instead, they are almost fearful: Stick figures fleeing a giant, dark, smudged, massive shape lost in the shadows of the upper wall. A feminine HAND reaches up to touch the figures. ELDER (O.S.) No! The ELDER steps between the outstretched hand and the rock wall. Dressed in traditional Native American clothing, his ancient eyes plead with the young woman there with him: CALLIE JAMES(20s) is dressed in the long-sleeved khaki uniform of the RCMP NAPS (Royal Canadian Mounted Police division for the National Aboriginal Policing Services). She draws her hand back. Nodding with respect. ELDER (CONT'D) They are very delicate. That is why we do not use torches. He gestures behind her, to the YOUTH squatting on the ground, holding a small mirror to reflect the sunlight from the cave's entrance onto the wall. The kid's got on present day clothing, a clashing contrast with his tribesman. CALLIE I should have brought a flashlight. ELDER This is better. The colors are more... alive with sunlight. Callie now moves her hand in the opposite direction of the tribe's flight. To where a lone figure stands. CALLIE Who is that? ELDER Matunaagd. "He who fights". CALLIE What was he fighting? ELDER (almost as if in fear) A shape changer. Bad. Very powerful. Matunaagd was then chased. But he received help from The Wise One, who turned him into a fish. Then the Evil One turned into a snake to try and catch Matunaagd. The elder reaches out a hand to show a nearby scene -- A small red fish swims around a whirlpool - which is pulling a snake down into the depths. ELDER (CONT'D) But Matunaagd swam around and around - to create a whirlpool, and sucked the Evil One down into a cave below. Then The Wise One shut the crack. Trapping him there. CALLIE Wow. "Harry Potter" stuff, huh? The old man's eyes remain hard as they lock with hers. ELDER There is dark magic in this world. It is not a game or entertainment. Her gaze drops. Then she glances back up to the drawings. CALLIE So, which one is the shape changer? The Elder motions his head toward the youth. The boy tilts the mirror back, moving the sunbeam up, up... until it reaches the giant, dark, black shape there on the upper wall - A Dragon. CUT TO: EXT. ROCKY COUNTRYSIDE - NOON A Jeep bounces over the path. Callie's on her cell phone. CALLIE It went well. We got to know each other and they showed me around. They've had problems recently with some illegal mining on their land. I'm going to take a look around. EXT. DRY RIVER BED - LATE AFTERNOON Over the RADIO, an announcer DRONES on. ANNOUNCER (V.O.) ...this is the driest summer on record. Ever. Severe drought conditions for all provinces. Water tables are at an all time low. Meanwhile, Callie spots something ahead - A truck with a trailer, pulled way up into the brush. She stops the jeep and gets out. There's a tarp over the top. She pulls it back. It's loaded up with all sorts of high-end portable mining equipment, metal detectors... And a half-full box of explosives. She starts hiking down the dry river bed. Tracking. EXT. DRY RIVER BED - LATE AFTERNOON The ground is broken, with cracked fissures everywhere. Callie comes upon a large opening in the floor of the river bed - large enough for a man to go in. There's cigarette butts and burnt matches. The passage goes down. So does she. INT. FISSURE It's dark. And tight. Her flashlight soon is the only illumination. The walls are ridged vertically and are marble smooth. Almost like bones. She follows it ever downward. She finally encounters water, rushing swift and knee deep out of a crack in the rock. She wades on in, then changes her mind. She turns back - but slips. She goes down and is immediately swept away by the force of the water. Ahead - a solid rock wall. She reaches that spot - and disappears. INT. UNDERGROUND CAVERN A waterfall tumbles from the ceiling to fill a pool. There's a LARGE SPLASH as Callie drops in from above. She desperately tries to reach back up to the lip above her. It's out of her reach. No way to climb, the walls are smooth. She turns, playing the flashlight against the walls - and sees a dark opening just above the waterline. An exit. INT. CAVE PASSAGE Callie has been following a gradual upward incline. A reddish glow seems to be coming from somewhere ahead. She hurries. INT. RED CAVERN Passages come into here from all sides of the cavern. The source of light is from a small alcove in the rock - like a small fireplace with a chimney going up. A cooking pot sits in there. And next to it, a very old Native American woman, HURIT. The old eyes lift from the pot and focus on Callie. For a moment, she seems about to speak - FOOTFALLS SOUND. The old woman drops her head. OTKON enters. He seems of the same tribe as the old woman. Hard to tell his age, maybe thirties. Jet black hair unbound. His face is... beautiful. If that could be applied to a man. Perfect. There is nothing feminine about him, though. He looks to the old woman. She doesn't look up. Doesn't move. It's as if he suddenly realizes Callie is there. He locks eyes with her. For a long moment, neither one of them moves. OTKON Wiyo. Then he slowly looks her over. Fully. Carefully. Admiring her lines and form. He is unabashedly interested. He's thinking. OTKON (CONT'D) You look... delicious. His gaze moves back to lock her eyes in with his stare. Callie doesn't speak, doesn't move. Almost as if hypnotized. OTKON (CONT'D) I am sorry. That is not the word? A smile now. Showing teeth. OTKON (CONT'D) Beautiful. Yes, that is the word. He takes a step closer, drinking her in with his eyes. He holds her with that penetrating gaze. Callie doesn't move. HURIT (O.S.) WÓbizý ikwe... The voice causes him to turn. A hiss escapes from between his teeth. He shoots Hurit a hard look, teeth bared, going from a smile into something else. Something much harder. Hurit's interruption has another effect, allowing Callie to dazedly throw off Otkon's spell. Her eyes begin to refocus. Otkon senses the change. He shrugs unconcernedly, his gaze suddenly takes on a look of urgency, searching the walls and the many dark entry ways around them. OTKON How did you get here? CALLIE I found a fissure and followed it down. I slipped -- OTKON A way out? Where??? Show me! He grabs her arm, almost forcing her to lead the way. INT. UNDERGROUND CAVERN With Callie in the lead, they arrive at the cave. He grimaces at the sight of the water. Tentatively, he moves toward the pool. But there's something about it - he can't bring himself to get near the edge. He approaches and repeatedly falls back. He HISSES at the water. He hunches over as in anguish. Then he bolts back the way they came, seeming to have no need of Callie's flashlight. INT. CAVE PASSAGES Callie, flashlight in hand, follows at a much slower pace. From somewhere ahead, a SCREAM OF ANGUISH sounds. Scared, Callie covers her light and waits in the semi-dark. Ahead, the SOUNDS of scratching. She carefully tiptoes forward. INT. ENTRANCE TO BLACK CAVERN She stops at a particularly dark opening. There's a sort of mist that forms and spills out from the darkness in there. Callie crouches against the rock wall beside the opening, unsure, when there's a SOUND - a combination of SHRIEK/GROAN coupled with FLESH TEARING/RUBBING. It's eerie. Callie uncovers her flashlight. INT. BLACK CAVERN It's only illuminated for a split second. There's just an impression of what's in there -- No Otkon. But there are bones - human bones. Skeletal remains. And an extremely large snake, slowly writhing between the ribs in one of the empty chest cavities. Callie's scream is accompanied by her dropping of her flashlight. It hits the rock floor and the bulb shatters. INT. RED CAVERN Callie stumbles back into the chamber, completely terrified. The old woman looks at her. Silent -- CALLIE What is he... that? The old woman struggles, as if learning how to speak again. Her eyes go unfocused as she loses herself in a memory. HURIT I was intended for a man in my village. A good man who loved me. It would have been a good marriage. A frown. HURIT (CONT'D) But this stranger came. He was beautiful. Exciting. Dangerous. She returns her attention to Callie. HURIT (CONT'D) I wanted to be with him. More than anything. More than one who loved me. Because I was stupid. Selfish. Hurit again glances toward the dark. Hugs herself tight. HURIT (CONT'D) The Wise One shut me in here for my sin. I am bound to Otkon. I cannot die while his heart holds my soul. She then extends her arms, palms up, toward Callie. HURIT (CONT'D) I have tried. There, on her arms, are the ugly scars from crudely slit wrists. Thick and wide. Obviously fatal wounds. And yet, here she is. Still alive. CALLIE We need to get out of here. There were men... If we can find them - Hurit shakes her head. HURIT Two men were here. They would not go without the heart. So Otkon took the Breath of Life from them. CALLIE Without what heart??? HURIT Otkon's heart... (thinking, hope surging) If you would save yourself from my fate, find a way to destroy it. She gestures to an incredibly large ruby stone set in the rock above the fireplace. There is a very dim pulsing light emanating from it. Callie rushes over, trying to dislodge it. But rock surrounds it on all sides, overlapping it. She can't get it out. HURIT (CONT'D) The men... their things are here. She rolls away a stone to reveal a hidey hole. The men's explosives, cords and a detonator and are there. Callie gathers up the explosives. She begins working feverishly, planting the explosives and hooking up the cords to the detonator. The sound of SLITHERING is heard, coming from all around. Both Hurit and Callie look with dread toward the entrances. No way to tell which one the sound is coming from. Callie begins reeling out line. Hurit moves, achingly, to a standing position. A mist begins to pour into the cavern. HURIT (CONT'D) He is here. At the same time, Otkon APPEARS at one of the openings. Not fully human, not snake, either. His skin is jet black and he seems to be sprouting leathery wings. He ROARS. Time has run out. Both Callie and Hurit are still in the cavern. No time to run from the blast. Without any hesitation, Callie hits the detonator. There's a burst of movement from Hurit as the CAVERN EXPLODES- INT. RED CAVERN - MUCH LATER There's nothing to be seen but rubble. From above, a thin SHAFT OF SUNLIGHT spears down from a hole in the ceiling. Some of the rocks on the floor tremble, then fall to the sides. Hurit, face down, slowly pushes herself up... Underneath her is Callie, shielded from the blast and the falling rocks by Hurit's body. Callie's wounds are bad, but not life-threatening -- Hurit's are. But she looks to Callie, then up to the sunbeam shining from above. Her face drinks it in. Then she falls over. Callie scrambles to her, tries to lift her up. Hurit reaches a hand up to Callie's face. HURIT Thank you, Daughter. I am free. She sighs. And doesn't take another breath. Callie sobs, sitting there with her. Finally, she looks up toward the light and begins to crawl up to reach the opening. EXT. DRY RIVER BED - DAY Callie emerges into warm daylight. She looks back down the way she came. A halo of light surrounds Hurit's body. Taking her bearings, Callie sets out across the country. As she moves past the horizon, there is a sudden trembling of the earth and the hole is sealed. Dark thunder clouds appear from seemingly nowhere and blessed rain begins to fall, becoming a torrent. Soon, the dry bed becomes a creek. Then, it becomes a raging river. As the rain continues to descend, a thin shaft of sunlight breaks through the clouds, brightening the air above the grave site for just a moment. THE END
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Old 10-25-2014, 03:16 AM   #4
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Echoes In The Mist FADE IN EXT. COUNTRY ROAD - NIGHT Misty, poor visibility. The sound of an approaching CAR ENGINE gets louder. Headlights bathe the road and the trees on either side. SCREECHING TIRES. AN ALMIGHTY BANG. The unmoving headlights continue to bathe the trees. The car engine noise abruptly stops. A low-budget car crash. EXT. SCOTTISH COUNTRY FARMHOUSE - NIGHT The only house for miles, set among dark, bleak moors. Chinks of light visible at the windows. They're what attracts ADAM, a young American tourist who staggers towards the farmhouse, injured. God but it takes him forever to navigate the uneven path, and then he's at the door. He can hardly hold himself up. He BANGS weakly on the door with his fist. A window curtain is pulled aside. JOSEPH, white bearded, stares out at Adam with suspicious eyes. Adam waves feebly. ADAM Help... need some help here! BOLTS are pulled, the door CREAKS open. Joseph looks Adam up and down. He's a damn mess, clothing torn, face and hands bloody. JOSEPH What's happened to ye? ADAM I had an accident. Joseph points off into the night. JOSEPH The hospital is that way. ADAM Jesus you gotta be kidding me, my car's a total wreck. Don't you have a phone? MAGGIE appears behind Joseph, much younger, could be his daughter. Her gaze searches the night before coming to rest on Adam. MAGGIE We dinna have a phone. ADAM For Christ's sake, how can you not have a phone! He slumps against the wall, exhausted. That was his last spark of energy, used up. MAGGIE Help him inside! Joseph gives her a look that says ARE YOU SURE? Maggie nods quickly, YES DO IT. Joseph pulls Adam's arm around his neck and takes his weight, he walks him into the house, holding him up. Maggie closes the door behind them. INT. SCOTTISH COUNTRY FARMHOUSE - NIGHT Joseph deposits Adam in the bigger of two high-backed chairs facing the fire burning in the grate. MAGGIE Ask him what happened. Maggie disappears into the kitchen. JOSEPH Are you awake, lad? Adam opens his eyes. ADAM Yeah. JOSEPH What happened? ADAM My car. I swerved off the road. Hit a goddamn tree. JOSEPH That wasn't so clever. ADAM I didn't mean to do it! Maggie returns with a bowl of water and a clean kitchen towel. MAGGIE I'm going to clean your face, all right? ADAM I can do that. MAGGIE Dinna be daft. How can you when you can't see your face? She cleans his face and hands. Adam lets it happen, watching her while she works. She ignores his scrutiny. JOSEPH He drove into a tree. MAGGIE That wasn't so clever. ADAM What are you, a comedy double act? Maggie finishes up and turns to go back to the kitchen. She holds Joseph's gaze for a second. He nods and sighs. Maggie exits to the kitchen. ADAM You really don't have a phone? JOSEPH Was it just you? ADAM Was it just me, what? JOSEPH Were you traveling alone? Was there anyone else in your car? ADAM No, yeah, I was alone. JOSEPH That's an interesting accent you have. ADAM I'm an American. My name's Adam Harrington, I'm from Pennsylvania. Joseph chuckles. JOSEPH A Yank, is it? Overpaid, oversexed, and over here! ADAM Very funny. That's seventy years out of date, by the way. Is she your daughter? JOSEPH Was anyone else involved in your wee argument with the tree? ADAM I didn't see any other cars, if that's what you mean. And before you ask, I was driving on the right side of the road. The left side, that is. On the left. Joseph stares at Adam, his brows furrowing. Serious. JOSEPH Did you see anyone else? Maggie stands in the kitchen doorway, arms folded, watching Adam, who becomes guarded. ADAM I don't know what you mean. No, I didn't see anyone. JOSEPH Think, now. You've had a nasty experience. Maybe it rattled your brain. Made you forget things. ADAM I didn't hit my head! I fell when I got out the car. Ended up in a ditch. MAGGIE You'll have to go and look. That was directed at Joseph. He nods, sighs, and heads for the front door, taking his coat off a hook. ADAM What, why do you need to look? Joseph shrugs his coat on, opens the door and exits, closing it behind him. ADAM Why does he need to look? It's like I said. I hit a tree. I was alone in the car. MAGGIE Would you like a cup of tea? ADAM You can tell me why he's-- Yes that would be nice. Thank you. MAGGIE The kettle will be boiling in a minute. ADAM Why don't you have a phone? MAGGIE We don't want one. We don't have a television either. ADAM Are you some kind of, I don't know, Scottish Amish people? MAGGIE You look shaken up, Mr. Harrington. You should see a doctor. You'll stay here with my father. I'll go to the farm down the road and use their telephone. It's not far. ADAM God, I'm sorry for putting you to so much trouble. MAGGIE You're not. ADAM I guess my date's going to be stood up. MAGGIE Your date? ADAM I met a Scottish girl. Don't laugh. On the internet. You know what that is? MAGGIE Just because we don't have a telephone doesn't mean I'm stupid. ADAM Sorry! Jesus, I didn't mean to insult you. MAGGIE Do all Americans blaspheme as much as you do? ADAM Most of us don't. I'll try to keep it under control. MAGGIE Is that why you're here? To meet this girl on the internet? ADAM Yeah. Does that sound weird? MAGGIE In the old days people used the lonely hearts column in the newspapers. They had to wait days for a response, if any. What's weird about getting to know someone in real-time? ADAM I'm sorry for assuming... Let's just go with I'm an idiot, okay? MAGGIE You were going to meet her tonight? ADAM We were going to meet at a Halloween party! Of all the stupid God-damn things to happen-- Sorry. MAGGIE I'll get your tea. Maggie exits into the kitchen. Adam looks around. Old display cases contain China plates, ornaments, little figurines. Framed B/W photos of what could be a younger unbearded Joseph with a woman his own age, and a young girl. Maggie? Adam closes his eyes, relaxes in front of the fire. Joseph enters just as Maggie brings the cup of tea. A look passes between them. Adam can't help but notice. ADAM What? Maggie offers him the cup, he takes it. Joseph takes off his coat and hangs it on the hook. ADAM It's like I said, isn't it? Just my car. I wasn't even driving that fast. JOSEPH Aye, just like you said. MAGGIE I'll go to the Armstrongs and call the doctor. I won't be long. JOSEPH All right. ADAM Thanks. I mean really, thanks. MAGGIE Do you have her phone number? It takes a moment, then Adam catches on. He fumbles in his pocket. Maggie offers to hold his cup of tea while he looks. Adam brings out his wallet, opens it, searches, finds a folded piece of paper. ADAM Her name's Fiona. He gives her the paper, she gives him the cup of tea. MAGGIE I'll tell her you're all right. And you'll call her when you can? ADAM That would be great. I really owe you for this. Maggie puts her coat on. MAGGIE You owe us nothing, we'd do the same for anyone. Just rest until I get back. At the door, she pauses. She looks back at Adam. MAGGIE You saw her, didn't you? Adam looks at Maggie, he's about to deny it-- MAGGIE Tell me. Did you see her? ADAM She came right out in front of me. I just couldn't not hit her. Adam looks away, filled with painful memories. ADAM I thought she must be underneath the car. That's how I got hurt. But when I moved it, nothing. Maggie shakes her head, no. MAGGIE She's been dead ten years now. She exchanges a sad look with Joseph. Then says softly, MAGGIE That's why we don't have a telephone. She keeps calling. She won't leave us alone. Or a television. We'd be watching something and there she is, in the background, waving. Asking us to join her. Adam gapes, hardly able to believe it. Maggie exits, closing the door behind her. ADAM This is a joke, right? Joseph sadly shakes his head. JOSEPH I only wish it was. I'll get us something stronger to drink, eh? Joseph exits into the kitchen. A gust of wind blows. The fire abruptly goes out. Adam stares at the suddenly dark grate, puzzled. Joseph returns, with a whisky bottle and two glasses. He stops and stares at Adam's empty chair. FADE TO BLACKNESS
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Old 10-25-2014, 03:18 AM   #5
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KILLING FOOL FADE IN: INT. HOUSE - STUDY - DAY Dark, with shutters over the window and old, chipped furniture. On the wall, a disturbing bulletin board covered in newspaper clippings. The clippings feature missing women, similar in age and physical characteristics. A MAN (30s) surveys the board with grim satisfaction. He wears a T-shirt that shows off powerful biceps. He shifts his gaze to a PHOTO in his hand: it shows a young WOMAN in profile, browsing in a bookstore, unaware her picture is being taken. She resembles the missing women. INT. HOUSE - MAIN ROOM - NIGHT The Man now wears a long-sleeved flannel shirt. He leads the Woman into the house. He holds a grocery bag; she carries a large handbag. The room is plain with dim lighting. A heavy wooden table and chairs, a couch. A glass-topped table holding some kind of collection rests against the wall. MAN I guess you weren't expecting a cabin in the woods. He gives the thick door a hard shove to close it behind them. She shoots a nervous glance that way. Tries to shake off a sudden sense of unease. WOMAN It's nice. Simple. Have you been here long? MAN Belonged to my father. Make yourself comfortable. He goes to the kitchen, partly open to the main room. His back is turned to the Woman as he unloads the groceries. MAN Thanks for coming on such short notice. After I saw you last time, I was like, sh!t, why didn't I ask her out? She clunks her heavy bag down on the table. The top of a wine bottle protrudes from it. WOMAN Sophie's been ragging on me to lighten up. Be more spontaneous. I'm so wrapped up in work, I'm starting to talk in SQL. "Where'd you put the Harry Potter?" (computer voice) "Select Rowling from bookshelf." She wanders toward the display case. WOMAN So I picked up something at the joke shop and I was all set to pull an April Fool's prank on her tonight. Sound of running water in the kitchen. WOMAN Then you and I ran into each other and I thought, whatever, the joke can wait till next year. She stares down at the collection that's preserved under glass. WOMAN Where'd you get all these different feathers? MAN (O.S.) From birds. Take a look around the rest of the place if you like. She frowns at his response, but continues on into a HALLWAY Past a small bathroom. She peers into a bedroom, oddly sterile and empty, just a bed and dresser over a bare floor. There's one more room with the door partly closed. She pushes it open and steps into the STUDY She stops dead at the bulletin board. Her mouth falls open as she scans the "missing woman" headlines. The Man laughs just behind her. She spins around. He looms in the doorway, holding a knife. She stumbles backwards into the room. He looks down at the knife, back up at her. MAN Oh jesus, wow, it's okay, my brother must've done this. He knew I was gonna ask you over if I saw you. Every year we try to out-prank each other. I got him good last year. (laughs) Took him weeks to dig himself out of that one. Her eyes are fixed on the knife. MAN I was chopping the veggies. Sorry. You all right? She nods her head uncertainly. MAN Think I would've told you to look around if this was real? WOMAN I can't believe he would think this was funny. MAN I guess you don't have brothers. KITCHEN The Man slices meat at the counter. He handles the knife with speed and dexterity. The Woman, seated on a stool, watches his hands but avoids eye contact. Barely able to suppress the sense of fear and foreboding that's come over her. WOMAN I thought your place would be filled with all your sci-fi novels. MAN Oh, I've got them in boxes. In the basement. With the teeth. The Woman looks up sharply. He smiles. MAN Gotcha. She chokes out a fake laugh. WOMAN Have you ever read "Crime and Punishment"? MAN Don't think so. WOMAN It's about a guy who commits a... crime. But he messes up... overlooks some details. And he can't live with the guilt. It drives him insane. MAN Fools get what they deserve. She slides off the stool. WOMAN I brought wine. Let me get it. MAN No corkscrew. WOMAN I've got one. For emergencies like this. MAIN ROOM She throws a furtive look back at the kitchen. The Man is out of view. She gets out her cell phone. PHONE DISPLAY: "NO SERVICE" ON THE WOMAN, approaching panic. She shoots another glance at the kitchen. Sound of chopping. She steps silently to the front door. Tries to open it, but it's locked with a dead bolt. MAN (O.S.) Find it? Her face fills with dread as she turns toward the kitchen. She can't fully suppress the quaver in her voice. WOMAN Amazing how easy it is to lose stuff in my bag. She hefts her bag over her shoulder. Her gaze shoots around the room as she seeks an escape. KITCHEN The Man puts on a chef's apron. He smiles to himself. Picks up his knife and sharpens it. BEDROOM The Woman struggles to open the window. Finds it nailed shut. MAIN ROOM The Man walks slowly toward the hallway. MAN Been watching you for a while. I kind of lied about knowing your friend Sophie. Figured you'd feel better about talking to a stranger if you thought she knew me. BEDROOM The Woman scans the room in desperation. BATHROOM The Man steps inside the bathroom. Looks around. MAN That was good advice she gave you, though. "Be more spontaneous." I f***ing love it. BEDROOM The Man enters. Notices the closet door, slightly ajar. He walks over to it, grabs the knob and yanks it open. A shape with a horrifying ghostly face and black hooded cape lunges out at him. Shocked, he staggers backwards. She slams the wine bottle into the side of his head. The blow knocks him out. She pulls off the mask. Shaking with fear and rage. She kneels and shoves the mask back into her bag. Digs into his pocket and extract the keys. INT. MAIN ROOM - NIGHT The Woman fumbles with the key in the front door lock. Suddenly the door is shoved open from outside. She jumps backwards. The BROTHER, the Man's identical twin, enters. He still wears the T-shirt he had on when he prepared the bulletin board. The Woman stares at him in shock. WOMAN Oh my god. BROTHER Hi there. Have you seen my brother? WOMAN Did you really pull that horrible prank on him? The Brother laughs. BROTHER The serial killer bulletin board? WOMAN And the bolted door. The window nailed shut. He laughs harder. She shakes her head and moves past him out the door. WOMAN Apologize to your brother when he wakes up. BROTHER Should I tell him to call you? WOMAN That's the last thing he'll want to do. She hurries away. BROTHER You might be surprised. He shuts the door. Turns around to find his twin staggering in from the hall, rubbing his head. MAN She gone? The Brother nods. MAN (pissed) Thanks a lot, bro. BROTHER I owed you one. MAN My murder clippings, man. You know I hate it when you take them out of the album. BROTHER I'll put `em back. MAN While you're at it, file the teeth in the basement. FADE OUT.
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Old 10-25-2014, 03:45 AM   #6
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Life Is But A Dream EXT. ROAD - DUSK MAC, a thuggy looking 20 year old white-boy swags down the street, a lit cigarette dangling from his mouth. The tightly packed residential area to his right doesn't interest him, so he gazes over at some KIDS in the concrete park to his left. KIDS (singing) Row, row, row your boat, gently down the stream... He watches as they row their concrete bench. KIDS (CONT'D) (singing) Merrily, merrily, merrily, merrily, life is but a-- WOMAN (O.S.) Hey! Mac jumps, startled. He looks over at a run-down house to his right and spots the 40 year old WOMAN who yelled. WOMAN (CONT'D) You got a light?! He snags a lighter out of his pocket and heads over to the woman. His eyes gaze up to some scarecrows hanging from her balcony. He's lost in a bit of trance. WOMAN (CONT'D) Hello? She holds out her hand. Mac breaks his trance. MAC Sorry... here ya go. He hands the lighter to her and she lights up a joint. She takes a deep inhale and then blows the marijuana smoke in his face. Mac doesn't hate it. She slowly reaches her hand up to his mouth and pulls out his cigarette. She ashes it on the fence post and tosses it to the ground. WOMAN I hope you brought an extra pair of lungs. She turns around and struts up her stairs. She motions with her finger for him to follow. He smirks. MAC Yes ma'am. INT. HOUSE - LIVING ROOM - CONTINUOUS The house is a bit outdated. Old furniture, old grand-father clock, old windows, old wall-paper, old -- you name it... Mac steps inside the house, but the woman gently pushes him back with one hand. WOMAN I just put new carpets in. She points to his shoes. He notices the brand new white carpets on the floor and obliges by taking them off. INT. HOUSE - LIVING ROOM - LATER Mac and the woman sit close together on the couch. A baggie full of weed sits on the coffee table. Mac COUGHS as he blows out some weed smoke. The woman LAUGHS as her hand creeps up his thigh. WOMAN First time, honey? MAC No. I'm a bit of a pro. WOMAN Pro, huh? Well... I got this crazy pill the other day... She stands up and heads into the kitchen. WOMAN (CONT'D) That will make all your problems go away... She vanishes into the kitchen completely. Mac leans to gaze into the kitchen, making sure she isn't looking. He scoops the giant bag of weed off the coffee table and quickly shoves it into his pocket. The woman re-appears in the doorway seconds later... with a knife. Mac quickly jumps up and leaps over the couch... he CRASHES to the floor. WOMAN (CONT'D) Settle down, sweetheart. She SHAKES a pill bottle in one hand. WOMAN (CONT'D) These pills are best served on a cold, hard knife. MAC What? WOMAN It's more thrilling that way, honey. She points to the couch with the knife. WOMAN (CONT'D) Just relax. Mac debates for a moment, but obliges and plops back down on the couch. The woman points the knife at Mac with a wicked smile, offering him the first turn. He shakes his head and points to her. The woman casually drops a few pills on the knife and then slowly inserts the knife into her mouth. She sucks the pills off the knife, then pulls the knife out of her mouth, even slower. WOMAN (CONT'D) See? She holds out the knife and plops more pills on it. Mac shifts uncomfortably in his chair. He eyes the knife carefully. She starts rubbing his shoulder with her free hand.. WOMAN (CONT'D) Just relax... She holds the knife up against his throat. WOMAN (CONT'D) Take it. He takes the knife. MAC I'm not really into these kind of drugs. She sensually kisses him just below his ear. WOMAN You'll love it. I promise. Mac brings the knife up to his mouth. MAC F*** it. He shoves the knife into his mouth, and quickly pulls it out. He SCREAMS from the thrill of it. The woman gives his shoulders another hard rub. WOMAN That wasn't so bad, was it? INT. HOUSE - LIVING ROOM - LATER The woman dances around the living room with a fake partner as old songs BLARES through some stereo speakers. Mac is drowning in the couch. She motions with her finger for him to come join her on the imaginary dance floor. He tries to stand, but struggles, and falls back down on the couch. WOMAN Just enjoy it, sweetie. Mac nods slowly. The room starts spinning. The woman toys with the radio and now BLASTS some RAVE MUSIC. The room starts pulsating to the song. The room is not a bland old fashioned house anymore, but instead it's colorful, and neon. MAC Whoa... The room spins some more... and then blackness. INT. HOUSE - BASEMENT - LATER Mac lies motionless on the basement floor. CLUNK. CLUNK. CLUNK. Footsteps are heard coming down the stairs. FLICK. On come the lights. Mac stirs. WOMAN (quiet, distant) Wake up... Mac opens his eyes, blinded by the light. He looks around, while rubbing his eyes. He notices some scarecrows sitting in the corner of the basement. MAC What... what the hell happened? She smiles and motions for him to follow her up the stairs. CLUNK. CLUNK. CLUNK. Slowly up the stairs she goes. INT. HOUSE - LIVING ROOM - MOMENTS LATER The woman steps into the living room. Her brand new white carpets are covered with red stains. Mac enters the living room... and his face drops. MAC Is that... is that... WOMAN Blood. Mac's face turns white. MAC What... what happened? He tears up a bit. MAC (CONT'D) What the hell did you do!? He storms over to the phone. It's an old-fashioned rotary phone. He sticks his finger in the nine slot hole and spins it. MAC (CONT'D) What the hell did you do!? CLICK CLICK CLICK CLICK CLICK, the phone dials the 9. WOMAN I told you not to be careful with my new carpets. Mac sticks his finger in the one slot and spins it. CLICK. WOMAN (CONT'D) But you wouldn't listen... Mac picks up the phone and SLAMS it against the wall. He charges at the woman and grabs her by the neck. MAC What the f*** did you do!? Silence. MAC (CONT'D) (louder) What the f*** did you do!? After no response he lets go of her neck and storms away. He flings open the front door and it SMASHES against the wall. EXT. ROAD - NIGHT Mac storms down the stairs and back on to the main road. He walks at a brisk pace. As he looks over his shoulder, to make sure the woman isn't following, he notices a LITTLE BOY sitting on the cement park bench. One dim streetlight illuminates the bench. LITTLE BOY Row, row, row your boat, gently down the stream... merrily, merrily, merrily, merrily, life is but a -- MAC Hey! The little boy looks at Mac as Mac approaches. MAC (CONT'D) Where are your friends? LITTLE BOY You said you wanted them to come play with you. Mac's face turns a ghostly white again. MAC Where... where did I take them? The boy slowly turns and points to the balcony of the woman's house. Mac turns and looks. In place of the three hanging scarecrows, are three hanging kids. Mac faints. INT. HOUSE - LIVING ROOM - LATER Blackness. WOMAN (O.S.) (distant) Are you there? (beat) Sweetheart? Can you see me? Mac blinks. The woman stands over him. WOMAN (CONT'D) Are you feeling okay? She waves her hands in front of him. Mac abruptly wakes up and jumps off the couch. He points accusingly at the woman. MAC What the hell did you make me take!? She smiles and gently grabs his arm. He rips it away. WOMAN What's the matter, dear? MAC You... you made me kill them! She looks confused. MAC (CONT'D) The little kids! You made me do it! WOMAN What kids? MAC The singing kids! He runs to the front door. He doesn't notice the spotless white carpets. EXT. HOUSE - DUSK - CONTINUOUS He BARGES out the door and looks up at the balcony. He points. MAC (CONT'D) See! The woman follows behind, calmly. MAC (CONT'D) See! They're... they're... Hanging from the balcony are three scarecrows. WOMAN You've had a bad trip, honey. He backs away and eases his way down the stairs. MAC You're crazy, woman! WOMAN I think you might be the crazy one, my dear. MAC F*** you! He turns and walks away. She cautiously reaches her hand back inside her door to grab something as Mac storms down the stairs. WOMAN Hey kid... Mac turns towards her. BANG! Shotgun spray hits him square in the chest and blows him backwards. Blood splatters across the pavement. She smiles with the shotgun in her hand. WOMAN (CONT'D) I'm not too fond of thieves. She casually walks over to his body, bends over and reaches into his pocket. She pulls out the giant bag of weed he stole. As she walks away she WHISTLES. *whistling* Row, row, row your boat gently down the stream... merrily, merrily, merrily, merrily, life is but a-- *whistling* CRASH! INT. HOUSE - BEDROOM - DAY The woman shoots straight up in her bed, sweating profusely. A shattered lamp lay on the floor next to her bed. She quickly throws off the covers and STOMPS out of bed. INT. HOUSE - LIVING ROOM - CONTINUOUS She stares in horror at the red stains all over the white rugs. WOMAN Oh no, oh no, oh no... She walks on past the stains, a tear drop streaming down her face. She heads to the front door, grabs the door knob, silently says a prayer and pulls it open. EXT. HOUSE - DAY She steps out onto her porch and looks up at the balcony. Overhead are three hanging.... scarecrows. Behind her we see empty red wine bottles littering the floor. WOMAN Phew. Just a bad dream.
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Old 10-25-2014, 04:01 AM   #7
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Pledge Night FADE IN: EXT. NIGHT Three college girls stare at a condemned hospital. HEATHER, goth look, smiles. JENN, rich girl fashionista, looks at KATIE, freshman nerd. Katie swallows hard. She is terrified and can't hide it. JENN You can still back out. Heather reaches over and strokes Katie's hair. HEATHER Well? Katie looks the hospital up and down. The accessible windows and doors are boarded. The second and third story windows are busted out. She stammers her words. KATIE There's no way in. Heather produces a hammer from her black cargo pants. She hands it to Katie. Katie looks at the hammer, but it's the pentagram tattoo on Heather's hand that catches her attention. Katie slowly takes the hammer. Heather laughs. JENN (O.S.) This one is loose. Katie turns to see Jenn pulling a board. Jenn stops. She puts her hands on her hips. JENN Any day nerd. Heather and Katie walk over to the boarded window. HEATHER This will do. Katie stares at the boards. Heather and Jenn smile at each other. Katie shakes as she lifts the hammer. She smashes it against a board. Heather bursts out laughing. JENN You have to pull the boards off you dumbass. I thought all you nerds were smart? Katie nods. She struggles to pry the boards loose. One comes off. HEATHER Speed this sh** up dork. Jenn shakes her head in disgust. Katie ignores them. The next board is loose. She pulls it off by hand. HEATHER Good enough. JENN Here. Jenn hands Katie a flashlight. She takes it. Then looks at the window. HEATHER Remember, something from the children's burn unit. JENN Yeah something I'd like. Katie looks at her. She nods. They stare at each other for a few seconds. Jenn motions with her head toward the window. KATIE Sorry, it's just so dark in there. HEATHER Move it or this pledge night is over. Katie looks around. KATIE I thought there would be other girls. Jenn and Heather look at each other. Heather softens up. HEATHER Look kid we know you're from the foster homes. Those other girls are candy asses. JENN Yeah you're like a bad-ass. Katie, encouraged by the support, climbs through the window. Heather and Jenn are delighted. Katie's arm thrusts back out the window. Thumb up. JENN Bring me something nice! Heather shakes her head in disbelief. Jenn shrugs. INT. HOSPITAL ROOM - NIGHT Katie stands in an empty room. Light comes through the opening of the window. Katie stumbles to the door. She opens the door and walks in to the HALL. It's completely dark. She turns the flashlight on. It illuminates a picture of a man. She screams. Hand holding her chest she slowly looks around. The whole scene looks like a typical abandoned building. Katie sees the stairwell sign. She walks down the hall. She stumbles and kicks trash and broken bottles. A rat runs by. She jumps. She runs to the door. The door has a painted pentagram matching Heather's tattoo. Katie opens the door and walks into the STAIRWELL. It's just as dark and nasty as the hall. She climbs the stairs. She moves the flashlight ahead and behind. She reaches the second floor. The light flickers. She shakes it. The light burns bright. Another pentagram on the door. Katie heads up the next flight of stairs. A gush of wind startles her. She moves the light wildly about. She hurries up the stares. She reaches the top. The pitter patter of little feet on the stairs below. Katie looks back. She shines the light down the stairs. KATIE Hello? No answer. She slowly turns around and looks at the door. Pentagram number three stares back at her. Katie slowly opens the door. She enters the HALL. The place is a mess. Charred furniture and broken glass. She walks down the hall. She stops in front of a double door. A half melted sign reads "Burn unit". She reaches out to push the doors. A small child's laugh stops her. She spins around. KATIE Hello? The flashlight goes out. In the darkness Katie smacks the light repeatedly. It comes back on. KATIE Okay guys, not funny. No answer. Katie turns back around and bursts through the doors. INT. BURN UNIT - NIGHT Katie looks around. The outside moonlight comes through the busted windows. She wanders around. She kicks the trash. She shines the flashlight into the corners. The light shines on a small something. Katie walks over to it. She picks up a small, stuffed pink rabbit. She smiles. Katie turns around and heads back. She goes through the doors into the HALL. She walks quickly and confident. She gets near the door and hears a small child crying. She looks around. KATIE Not scary! Katie swings open the door. She walks into the STAIRWELL. She grabs the railing and runs down the stairs. The crying becomes loud. Katie stops. Her light goes out. KATIE Dammit! It comes back on. On the steps sits a SMALL GIRL. Her back to Katie. Her head bent down. She is crying into her hands. KATIE Are you Okay? The girl continues to cry. KATIE Are you lost? The girl doesn't answer. Katie moves to her. Suddenly the girl turns around. Her face is half burnt skin and half skeletal. Her eyes black voids. She points at the rabbit. SMALL GIRL Mine! Katie's light goes out. EXT. NIGHT - CONTINUOUS Heather and Jenn stand looking up at the hospital. Katie's scream pierces the quiet night. They both look at each other and smile. Jenn reaches out to Heather. A pentagram tattoo, similar to Heather's, is seen. Both tattoos glow red. HEATHER That should keep them satisfied. The girls leave the scene, arm in arm. END
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Old 10-25-2014, 04:32 AM   #8
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SHE WORKS HARD FOR THE MONEY EXT. HELEN'S DINER - NIGHT A neon sign reading "EAT AT HELEN'S" casts a pink glow over the parking lot. The diner has huge picture windows, inside we see - INT. HELEN'S DINER - NIGHT It's packed. And noisy. Silverware scrapes on plates, CUSTOMERS chatter. Steam and sizzle waft in from the kitchen. A lone, frazzled waitress - JANIE, 24 - hurries from table to table. She started the day with a neat ponytail and creases i her pale blue uniform. Now her hair droops, and her uniform looks slept in. At one table, a portly MAN, 40, holds up a glass, shakes it so the ice cubes rattle. PORTLY Refill over here. Janie turns at the sound. Across the room, at the counter, a sour-faced WOMAN snaps her fingers and points to her plate. SOUR-FACE I said extra gravy. You call this extra? Janie turns back, to Sour-Face. Portly doesn't like that one bit; slams his glass on the table. Around the diner, more SNOTTY CUSTOMERS join the fray. "I've been waiting for five minutes!" "I dropped my fork. Bring me another one." "Where's the goddam waitress?" "We want our check." "We want dessert." "We want service. NOW!" Janie doesn't know which way to go. SMACK! She startles. Looks down. A LEERING CUSTOMER holds up the hand he just used to slap her on the ass. LEERING I just wanted your attention, honey. INT. HELEN'S DINER - LATER The diner is empty, dark. Janie droops over the counter, exhausted. The cook, HAL, 40's balding, strolls out of the kitchen, a cigar dangling out one side of his mouth. HAL Rough night, huh. Janie wearily lifts her head. Tries to muster a smile. HAL How were the tips? Janie reaches into her pocket. Holds her fisted hand out over the counter and opens her fingers. A single crumpled bill flutters onto the counter, followed by the plunk of few quarters, and some cheap bastard actually left her a dime. Hal shakes his head. HAL And they'll be back again tomorrow night. He looks at his cigar. HAL Damn, I hate regulars. Hal heads for the door, gives Janie a pat on the shoulder as he passes. She smiles at him, wipes a tear from the corner of each eye. HAL (O.S.) I'll lock up. INT. BREAK ROOM - NIGHT Janie drags herself into the small breakroom, goes straight her her locker. She opens the door. The locker contains a paperback book, a worn purse, and a sweater on a hook. She puts on the sweater, slings the purse over her shoulder. As she reaches for the book, she spots a picture hanging over the locker. It's a picture of a smiling woman in a pink waitress uniform, red hair teased high and piled atop her head. JANIE Oh, Flo. I wish you were here. She shuts the locker door. Turns away. We close on the photograph of Flo. It shakes just slightly. Just the tiniest tremble. INT. HELEN'S DINER - THE NEXT NIGHT Same crowd, same noise, same demands on poor Janie. She's on her hands and knees cleaning up spilled milk, and trying not to cry over it. WHINY CUSTOMER Where is that waitress? ACROSS THE ROOM... We see her from behind first. The big red hair, pink uniform, white sneakers. She glides into the restaurant, surveys the clamoring customers and general mayhem. FLO Your waitress is right here. EXT. HELEN'S DINER - NIGHT The neon lights in the sign flicker. Burn out. Come back on - but only to read: EAT HELL Silence For An Agonizing Beat. Then, SCREAMS AND SHRIEKS OF TERROR We zoom in toward the diner just in time to see blood SPLATTER onto the window and - PORTLY MAN staggering past, clutching his throat. Leering's face SLAMS against the glass, his body slides to the floor. The double front doors rattle - Sour Face is trying in vain to escape. From inside the diner, there's a faint cry of "No, please. I'll tip. I'll tip." and then, "AUGGGGGH!" INT. HELEN'S DINER - LATER Bodies are strewn across the floor and draped over booths. One DEAD CUSTOMER lies on his back on a table, a fork sticking out of his throat, eyes staring blankly at - ANOTHER DEAD BODY, hanging from the light fixture, swaying back and forth. Janie, her face dotted with flecks of blood, stands in the center of the diner, gazing in shocked silence at the destruction. Hal tiptoes in, hands over his head in a gesture of supplication. HAL Is it over? Janie nods. HAL You okay? Janie shakes her head. JANIE I thought she'd just say "Kiss My Grits."
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Old 10-25-2014, 04:39 AM   #9
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Default Re: Halloween 2014 entries [in progress]

Code:
Pyro INT. JUVENILE PSYCHIATRIC CENTER - DAY ELLE PEARSON (25) fresh-faced, name badge pinned to her business suit, toting a briefcase, scurries down the gleaming hallway, checking the numbers on the exam room doors. An ORDERLY (30s) pauses from mopping the tile floor. ORDERLY New here? ELLE Oh, hi. Yeah, I'm looking for three fifty-one. The Orderly points down the hallway. ORDERLY Turn left, third door on the right. ELLE Thanks so much. Elle hustles away. HALLWAY - EXAM ROOM 351 Elle takes a deep breath, knocks, reaches for the doorknob. MALE VOICE (O.S.) Elle, hold on a minute. Elle's supervisor, DR. SHELTON COLBY (mid 60s) approaches. DR. COLBY I'm really sorry about this, but we just got a call that there's been a terrible accident involving our young patient and her family. He hands Elle a file folder. DR. COLBY (CONT'D) We have another patient waiting, a twelve year old boy. Elle flips through the file. DR. COLBY (CONT'D) It'll be the same test regime. ELLE Pretty extensive eval. DR. COLBY Yeah, I know. And if you're uncomfortable, I can put someone else-- ELLE No, I got it. DR. COLBY You sure? This one's pretty tough. Elle knocks on the exam room door. ELLE I'll have the report ready by tonight, Dr. Colby. INT. EXAM ROOM - DAY A stark white space with a table and two chairs in the center. Elle flashes a smile, then searches the room for her young patient. ELLE Devon? DEVON (O.S.) Yeah. Elle jumps out of her skin... ELLE Sh**! She whips around. DEVON BATES (12), gangly adolescent with piercing blue eyes, large ears poking out from under a baseball cap, creeps from behind the open door. DEVON Sorry about that. ELLE Uh, no. It's okay. Hi Devon, I'm doctor-- DEVON Ellen Mary Pearson. Twenty-five. Only child. Graduated May, two thousand ten from St. Luke's College. Hometown... Lakeview, Michigan. Single mom. Current address, six- six-eight, Kirtland Ave. ELLE Looks like somebody was on my Facebook? Devon gives a devilish grin, then holds up his cell phone, speed dials. A MUFFLED RINGTONE coming from inside Elle's briefcase. Elle opens the briefcase, pulls out her RINGING cell phone. ELLE (CONT'D) That's a private, unpublished number. How did you-- DEVON Just gotta know where to look, doc. Simple, really. Elle places an evaluation packet on the table. ELLE Would you please take a seat, Devon, so we can get started. Devon straddles the chair, staring at Elle's breasts. Elle places six colored blocks on the table, two red, two yellow, two blue. ELLE (CONT'D) Okay, Devon. After I arrange three of these blocks in a row, please choose the next block that you think should be placed in the row to begin repeating the pattern. Elle creates a row of blocks - red, yellow and blue. Devon scoops up the remaining blocks, and stacks them - red, yellow, blue - each turned exactly forty-five degrees to the other. Ellen scribbles on the evaluation sheet. ELLE (CONT'D) Okay, now I'm going to show you a series of images. She produces a stack of cards from the briefcase. DEVON Holtzman ink blots. ELLE Uh, yes. That's right. Elle peels off the first card, holds it up for Devon. Devon leans in, studies the card. DEVON Um, let's see... Looks like twelve burning birthday candles on a cake. Elle's winces slightly, slips the card under the stack, jots down a note. She pulls another card, holds it up. ELLE How about this one? DEVON Let's go with flames shooting from the roof of a house. Elle swallows hard. Makes a note, then pulls another card. DEVON (CONT'D) Easy. Did you ever see the photo of that monk who dumps gas on himself, and then sets himself on fire? Elle slams the card on the table, clenches her jaw. DEVON (CONT'D) You okay, doc? You seem upset. Elle exhales deeply, forces a smile. ELLE No, Devon, I appreciate your concern, but I'm not upset. I just want to make sure you're answering the questions as honestly as you can with the first thing that enters your mind. DEVON Got it. He taps his forehead. DEVON (CONT'D) It's all comes from right here. ELLE Good. Let's continue. Elle displays another ink blot to Devon. Devon studies the card, pretending that he could really give a sh**. DEVON Butterfly. Elle smiles. ELLE Okay, good. She returns the card to the pile. DEVON Wait, can I see that again? Elle hesitates, then retrieves the ink blot, holds it up. DEVON (CONT'D) Strike that. I'm gonna have to say a bomb exploding over-- ELLE (O.S.) Stop! That's enough. DEVON Sure thing, doc. You know, I'm no shrink, but you seem to be unusually troubled by my answers. Elle collects her briefcase. ELLE Excuse me for one minute. I need to call Dr. Colby. Devon tips his ballcap. DEVON Sure thing, boss. Elle hurries for the door. DEVON (O.S.) (CONT'D) Hey, doc? Elle turns. ELLE What is it, Devon? Devon balances on the chair back, flicking a CIGARETTE LIGHTER. DEVON (O.S.) Will you ask Doc Colby for me, if the little girl and her family got out okay? Elle peers at the junior sociopath - then a terrifying moment of recognition. She bolts from the room. EXT. PARKING GARAGE - DAY Chinning her cell phone, Elle leaps into her SUV. INT. SUV - DAY Elle cranks the ignition, jerks the car in reverse. ELLE (into phone) C'mon, answer. (beat) Bobby, call me as soon as you get this message. (voice cracking) Please, honey. SQUEALING TIRES as the SUV fishtails around a tight corner, then races past the pay booth ATTENDANT. PAY BOOTH ATTENDANT Hey. Stop! EXT. HIGHWAY - DAY The SUV weaves through slower traffic. On the horizon, a thick PLUME OF BLACK SMOKE, rises high into the air. SIRENS. EXT. SUBURBAN NEIGHBORHOOD - DAY A line of POLICE CARS blocks the road. Elle slams on the breaks, abandons her SUV, runs through a line of yellow police tape, toward a BURNING HOUSE. A COP steps in front of Elle. COP You gotta keep outta here. Elle gives the Cop an adrenaline-fueled shove, screams. ELLE That's my house. She blows past the cop. EXT. ELLE'S HOUSE - DAY Paramedics race a badly burned BOY on a stretcher away from the burning house. Elle sprints up to her unconscious son. ELLE Bobby! She tries to embrace Bobby, but is restrained by a SHERIFF'S DEPUTY. ELLE (CONT'D) Oh God, please no. EXT. CITY STREET - NIGHT Devon strolls down the sidewalk, pauses in front of a movie theater. On the FLASHING MARQUIS above the entrance: Special Halloween Presentation. A Nightmare on Elm Street. Devon reaches into his pocket, gives his lighter a few FLICKS, then steps inside the theater. FADE OUT:
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Old 10-25-2014, 04:44 AM   #10
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Default Re: Halloween 2014 entries [in progress]

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The Clown At The End Of The Road EXT. FAST FOOD RESTAURANT - DAY The weathered remains of a once fast food restaurant sit on the street corner of a small southern town. It looks like it's suffered fire, and the passing of time. The logo still visible, raised on a long pole above the establishment, an iconic `F' with `Freddy's' written below that. PETER (V.O.) I remember the season was fast turning from summer to autumn, in this small town, when Freddy's Burgers seemed to just pop up over night. EXT. FAST FOOD RESTAURANT - DAY The restaurant in better days, before the fire. A large crowd of small-town folk, southerners, gathering outside of it. PETER (V.O.) Everyone had become excited about its opening weeks earlier. FLASHCUT: Flyers for `Freddy's Burgers' blowing in the wind, one can be seen in full view, blown up against a mesh wire fence, a blurry image of a clown at its center. PETER (V.O.) There had been flyers everywhere, they seemed to have come with the wind. PETER, a typical boy of ten, stands on tiptoes amongst the gathered crowd around restaurant, trying to get better view. PETER (V.O.) I was just a skinny kid back then, and it all seemed so exciting to me. A clown, FREDDY, waves from the front of the restaurant, behind the long tape ribbon that separates it from the gathered crowd. He has a gleeful face, with a wicked grin, appearing somewhat salacious in his nature for it. PETER (V.O.) They weren't just excited about the burger joint, but Freddy too, he was fast becoming a celebrity around these parts. Freddy reaches across ribbon, ruffling a young boy's hair. Freddy approaches the MAYOR, a well dressed man in his fifties, shaking the man's hand as he cuts the ribbon. PETER (V.O.) Even the mayor turned up to open the restaurant. The town folk rush for the front doors of the burger joint while Freddy steps inside, beckoning them in with a laugh. FREDDY Come on everyone, come get your mouths `round a burger. PETER (V.O.) It all seemed innocent enough, something exciting happening in a town where nothing exciting ever happens. INT. FAST FOOD RESTAURANT - DAY Three fast food workers stand behind the counter, looking spiritless in contrast to Freddy, behind them, his face full of glee, and joyful abandon, with a wrapped burger in hand. FREDDY Who wants to try the first burger!? He throws the burger into the crowded restaurant, several desperate hands reaching out to catch it. Freddy laughs manically as he hops over the front counter. FREDDY Don't worry, there's enough for all! People watch, enviously, around a man as he bites into the first burger, nodding with approval, making a mess of face. PETER (V.O.) But it was soon to prove something other than innocent had arrived in our small town. Peter watches Freddy uneasily from across restaurant, a sinister glint in his eyes, his teeth rotting, laugh wicked. INT. FAST FOOD RESTAURANT - NIGHT The restaurant's full to the brim with people, singles, couples, families, all eating burgers, along with the ever- present Freddy, a fixture in his establishment. PETER (V.O.) Freddy's quickly became very popular. FLASHCUT: A `closed for good' sign in the window of what was a small, and humble, cafe. PETER (V.O.) And all the other eateries in town were forced to close. FLASHCUT: Playground equipment dumped, discarded, at the edges of the woods, long grass growing around it. PETER (V.O.) People seemed to forget that the land Freddy's was built on was suppose to be for a children's playground. FLASHCUT: Freddy stands in a dim warehouse with the mayor, who's mouth is watering over a briefcase of cash on table. PETER (V.O.) There was rumor that the mayor took a big payout to consent to the lease of the land. The young Peter sits in the restaurant with his mother and father, a wholesome looking family eating a burger meal. PETER (V.O) But all that was forgotten in favor of Freddy's mouth watering burgers. Freddy's had become the place to be. Freddy approaches the table, Peter tensing up as Freddy ruffles his hair, dirty white gloves on his hands. FREDDY How ya doin', Sport? EXT. BACK OF RESTAURANT - NIGHT Peter's out back of the restaurant amongst the squalor, kneeled over vomiting into one of the many trash cans. PETER (V.O.) But I just couldn't keep the burgers down, they didn't taste right to me, they seemed somehow unnatural. INT. FAST FOOD RESTAURANT - DAY Freddy stands middle of his restaurant amongst his patrons, wiping his nose with his sleeve, he looks worse than he ever has before, dirty and disheveled, clothing stained dark. PETER (V.O.) It wasn't just the burgers either, it was Freddy, the way he looked, and behaved, the horrid stench that came from him. EXT. FAST FOOD RESTAURANT - NIGHT Late night and town folk move in on the restaurant like zombies, all morbidly obese, a sickly sweat in their faces. PETER (V.O.) The town folk were getting heavier and heavier, they'd flock to Freddy's at all hours, anytime they were hungry. INT. FAST FOOD RESTAURANT - NIGHT Freddy stands over a table with a very large middle-aged WOMAN as she talks to him through a mouth full of burger. WOMAN Now you must tell me what you put in your patties, Freddy!? FREDDY Now that would be telling. WOMAN Oh, Freddy. FREDDY Only the primest cuts, my dear, only the primest. PETER (V.O.) I could see what others couldn't. Freddy at his most ugliest, smiling to himself, something insidious, and evil, lurking deep within his eyes. PETER (V.O.) A demon clown. EXT. TOWN - NIGHT Peter rides his bicycle through town late at night, the streets quiet around him. There's a deep worry in his face. PETER (V.O.) I was worried late one night when my parents didn't come home. He brings his bicycle to a stop, staring across the road. PETER (V.O.) I knew only one place they could be. Freddy's restaurant across the road, the lights on inside, the big `F' logo glowing at the top of its poll. EXT. FAST FOOD RESTAURANT - NIGHT Peter stands at the window, staring in at what's the very unusual sight of an empty restaurant, and it unsettles him. PETER (V.O.) But it was empty... Peter moves around back of the restaurant. PETER (V.O.) I heard voices so I checked around back. He peers around the corner, something catching his attention. A large truck with two trailers, the kind used to transport cattle, or sheep, idles behind restaurant. Freddy silhouetted in the large fog of its exhaust emissions in the cold air. Freddy yells at a seemingly faceless man in overalls, a clipboard in the man's hand, before walking out of view. FREDDY Hurry up and get the last of this stock on the truck before it gets restless! A platform leading up into the truck's trailer, the fattened townsfolk walking up it in some hypnotic state. The town's mayor among the fated, he having become morbidly obese. FREDDY They're running late for processing! Peter's suddenly startled, Freddy in front of him, reaching out with one of his dirty white-gloved hands. FREDDY Hey, come here, kid! Peter bolts, sprinting away from restaurant, right past his bike, across the road, and into the cover of the woods. PETER (V.O.) I ran as fast as my legs would carry me. EXT. WOODS - NIGHT Peter runs through the dark of the woods, breaking through low lying twigs, scratching at face, drawing blood across. PETER (V.O.) I didn't stop, and I didn't dare look back in case he was behind of me. He arrives out other side of the woods, stopping startled, watching in horror as a distance below the truck makes its way down a long windy road, headlights cutting through mist. PETER (V.O.) With that Freddy disappeared into the night, along with half the town. EXT. FAST FOOD RESTAURANT - DAY The restaurant, now burnt out after a fire. PETER (V.O.) The next day I found Freddy's burnt out, but couldn't find my parents, and never did. INT. RUSTY CAR - DAY A man's at the wheel of a rusty old car, making way down a long highway. This is the grown Peter, a relatively clean- cut man at a glance, but there's something a little frayed around the edges here, something dark that rests in eyes. PETER (V.O.) I grew up and became a traveling salesman, making my way down through the long stretch of small southern towns. INT. QUAINT STORE - DAY Peter stands at counter of a small town `mom and pop' style store, talking to an elderly man about the axe he examines. PETER (V.O.) Selling merchandize to local stores, tool supplies mostly. EXT. STREET - DAY Peter stands in the street staring aghast at something. PETER (V.O.) Then one day on the road I found something that horrified me... Across the road is another Freddy's restaurant, burnt out, and long weathered, just like the previous one had been. PETER (V.O.) It was another Freddy's... burnt out, and abandoned, just like the last one. INT. MOTEL ROOM - NIGHT A dingy motel room, and there's a large road map pinned to the wall, red drawing pins marking a clear trail across it. PETER (V.O.) Seems they made a trail through the south, popping up in small towns, then vanishing again, leaving only a carcass of itself behind. INT. CAR - DAY Peter driving a long highway, intensity in his eyes, appearance more weary than it has been previous. PETER (V.O.) I searched the road for years, but could never find another one actually in operation. Driving slow down a dilapidated street in a small town, boarded up shops, empty sidewalks, rubbish littered. PETER (V.O.) Just the emptiness they leave behind. INT. MOTEL ROOM - NIGHT Peter lays awake in the motel bed, eerie moonlight cast over him from the window. PETER (V.O.) Sometimes I would go years without finding another, then I would hear whispers in my travels. EXT. STREET - DAY Peter walks down street, past rows of store fronts, with a bag of merchandize, when something stops him in his tracks, a wrapper, small and yellow, blowing down sidewalk towards him. PETER (V.O.) Usually it wasn't much, but I would take anything that kept my hopes from dying. It blows to his feet and he kneels down to pick it up, rising back up while examining it, an `F' logo printed all over it, and it looks very much like it could be a burger wrapper. EXT. FAST FOOD RESTAURANT - DAY Peter stands across the road in a trench coat, as he looks at a Freddy's restaurant which is in full operation. His hands moves out from behind his trench coat, and he lets a small axe drop to his side. PETER (V.O.) Until one day I finally caught up with them. The restaurant reflected in Peter's burning eyes. INT. FAST FOOD RESTAURANT - DAY Peter stands at the counter of the restaurant, the axe hidden inside of his trench coat. A GIRL behind counter approaches. GIRL What can I get you, Sir? PETER I'm here to see, Freddy. And she points past Peter, he turning to Freddy standing across the restaurant at a table with a customer, a little older now, that same horrid grin across his face though. FREDDY Only the primest cuts, only the primest! Peter removes the axe from his trench coat, letting it fall to his side with his arm as he moves across the restaurant. The patrons already starting to gasp as Peter nears. PETER (V.O.) I'd finally found him. Freddy turning in horror as the axe goes into his chest, people screaming as the blood sprays all over the place. PETER (V.O.) The demon clown. The End
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